Liu Guoshen Fanginna art of counter-grabs SPORT-PRESS 2004UDC 796 BBK 75.715 L93 L-Liu.Guoshen Fanginna. The art of counter-captures Kh Dudukchan |.M., 2002-150 pp.: ill. ISBN 966-8472-14-4 In the book of the famous master of Eastern martial arts, the basic theoretical and tactical principles of the ancient art of painful holds and grips are declassified for the first time, and the basic techniques are also described in detail. ki liberation from them. upc 796 BBK 75.715 ISBN 966-8472-14-4 All rights reserved. No part of this book may be reproduced published in any form without the written permission of the owners of the copyright ok rights © Liu Guoshen, 2004 © Series, design Dudukchan I.M. 2004 Content A brief history of the development of martial arts in China....5 Grabs and counter-grabs. Eight basic principles of ginna........ ne Theoretical aspects of Qingna and ‘Fanging.. Turning bones... 3 Muscle separation..... Blockage of breathing and veins. Impact on vital points. Human skeletal system. ‘a Overview of the human nervous systeM...... jssessssees Review of the limits of movement of the skeletal system. Mechanics of Qinna..... .. Basic principles of mechanics. The principle of leverage...... Rotational movement. Connection and scissors Racks. ise Zhuangong - "The Art of the Pile’ Pigun... Zigong.... res Somersaults and falls... Fangqing's techniques. Techniques from the “Breaking” section...... sve Techniques of the “Push” section. woes Techniques from the “Unscrewing” section. Techniques from the “Pinching” sectior Techniques of the ‘Castle” section... Techniques from the “Collapse” section. Techniques of the “Shift” section. Techniques of the “Carry” section... Techniques of the “Support” section. Techniques of the “Lifting” section.. Techniques in the “Hold” section. Techniques in the “Grasp” sectior Techniques from the “Pin” section... ....Techniques of the “Scissors” Section. ..cccsesnenn Techniques from the “Twisting” section Techniques from the “Put under the arm” sectio1 Techniques of the “Weaving” section... Fanginna - the art of counter-grabs J: A Brief History of the Development of Martial Arts China Translated from Chinese, the word “Wushu” means “Military” or “Martial Art”. Wushu includes fist fighting, wrestling, fencing with swords, spears, sticks and other objects, archery and much more. In China itself, this term refers to all types of combat systems and paramilitary gymnastics, although they are not always equivalent in direct application. Many martial arts researchers claim that wushu arose many thousands of years BC, but real scientific evidence for this hypothesis has not yet been presented, so in this book we will not retell various fantastic and semi-legendary stories, but will limit ourselves to only a brief outlining and listing the stages of development and formation of martial arts in China. The history of Wushu has centuries-old roots, going back thousands of years. Even at the dawn of the Stone Age, when people were mainly engaged in gathering and fishing, they already knew how to make the simplest chopping, crushing, piercing and other primitive tools and military weapons from stone. Hunting, protection from ferocious predators, wars with neighboring tribes - all this made weapons vital. As a result, weapon handling techniques and hand-to-hand combat techniques were constantly developing, and forms and methods of fighting were systematized. In the 15th - 14th centuries BC. humanity learned to smelt bronze, and bronze axes, spears, axes, swords and other types of weapons immediately appeared. At the same time, all sorts of techniques for wielding these weapons arose. They could chop, stab, cut, it could there was throwing, etc. During the Warring States Period, iron tools and weapons, which further expanded the possibilities of their use nia. In addition, the tactics and strategy of conducting a duel developed6 Liu Guoshen kovs and wars. It was during those years that the great Chinese commander and strategist Sun Tzu wrote the immortal “Treatise on the Art of War,” which subsequently gained enormous fame. And such famous thinkers and philosophers as Kunzi (Confucius), Lao Tzu, Mencius, who lived in the same era, conveyed to China a huge spiritual impulse that influenced the development of all of East Asia in the next two thousand years. . In the 1st century BC. Buddhism began to penetrate from India to China. Around the 6th century, the Indian missionary Bodhidharma came to China and began preaching Buddhism in the Shaolin Monastery near Luoyang. It is believed that it was he who. initiated the development of Shaolinquan. This was a turning point in the history of martial arts in the country and, perhaps, in the entire Far East, since it was then that a radical restructuring of many concepts took place, a fundamental change in the course of development. Until that time, martial arts were considered an ordinary craft, but in Shaolin there was a fusion of fighting techniques with the philosophy and various psychophysical facts of Buddhism, which made the followers of Shaolinquan formidable fighters, and a new term “Usen’” - “warrior” - appeared in colloquial speech. monk". The scattered parts of the Celestial Empire were reunited under the rule of the Tang Dynasty (618-966). At this time, a special system of Imperial Martial Exams was created. Along with the imperial civil examinations, which selected the best applicants for the highest bureaucratic and court positions, this multi-level program of various tests, regularly conducted throughout the country, was designed to select the best military leaders and fighters from all over China for the imperial army. The examinees had to demonstrate to the judges their knowledge of military science, as well as their ability to ride a horse, mastery of various types of weapons on horseback and on foot, and prowess in wrestling and weight lifting, During the Song era (960-1279), the authorities encouraged the study of martial arts among the common people, creating a whole network of militarized societies throughout the country. More and more martial arts schools sprang up all over China. In 1044, a work known as “The Great Fundamentals of Martial Arts” was published, which included instructions on military strategy and tactics, the organization of troops, the production and use of weapons. Fanginna - the art of counter-grabs z personal types of weapons, topography, as well as the history of all battles, “wars and campaigns known at that time. In the 12th century Due to the persecution of Buddhism and the Mongol invasion, Shaolin Wushu fell into decline, and many monks began to leave the world, relinquishing their monastic obligations. As a-result, folk martial arts schools were enriched with monastic wushu techniques, which raised them to a higher level. In 1224, a young man came to the Shaolin Monastery and took the monastic name Jueyuan. Thanks to his talent and perseverance, the tradition and glory of the Shaolin martial arts was revived, which has survived almost unchanged to this day. After the conquest of China by Genghis Khan and the coming to power of the Mongolian Yuan dynasty (1280-1368), the Chinese, on pain of death, were forbidden to engage in any martial arts or use of weapons, but the sports version of Shuai- jiao wrestling and Mongolian wrestling were popularized. True wushu went underground and was passed on from teachers to a small number of but carefully selected students. Some masters transformed their styles into various types of acrobatics of plastic theatrical drama. This step made it possible to practically legally conduct training in martial arts, but often reduced the combat value of these systems. Around the same time, Persians and Arabs professing Islam began to be resettled in China. These people gradually formed the nation of Huigiao (“Muslims”). Among them, Wushu systems were practiced, which arose at the intersection of their indigenous and local martial arts traditions. In 1351-1368, the popular uprising of the “red bands” led by Zhu Yuanzhang, who himself was a great lover of wushu, put an end to Mongol rule and brought the Ming dynasty to the throne of the Celestial Empire, of which Zhu Yuanchang himself became the first emperor. The reign of the Ming Dynasty (1368-1644) is considered the “golden age of wushu.” All bans on martial arts were lifted. Many masters came out of hiding and began to openly teach their art. Thanks to communication between the bearers of the traditions of various martial systems, the schools were mutually enriched with each other's theory and practice, which raised them to unprecedented heights. In the 16th century The coastal provinces of China began to be subjected to devastating raids by Japanese pirates. In those areas troops8 Liu Guoshen They were small in number, poorly organized and poorly trained, which is why they could not resist the well-trained Japanese samurai. To fight the invaders, a talented official Qi Jiguang was sent, who, being well acquainted with martial arts, recruited wushu fighters and folk craftsmen into the local militia. In 1561, the Japanese in the provinces of Zhejiang, Fujian and f Guangdong were defeated. Having received the rank of general, Qi Jiguang ordered all his soldiers and even senior officers to practice wushu. Bringing together many systems of that time, adding to this his personal experience, he wrote the treatise “Jixiao Xinshu’” (“New Book on the Effectiveness of Discipline’). The reign of the Ming Dynasty was an era of stable, methodical improvement and peaceful coexistence of various schools. Moreover, it was during this era that the martial arts of China went beyond the Celestial Empire and had a huge influence on the development of martial arts in neighboring countries. For example, in 1619, Shaolin Wushu master Chen Yuanbing moved to Japan and laid the foundation for one of the most popular schools of jujutsu, . By the beginning of the 17th century, the degeneration of the Minsk imperial court and the local aristocracy became evident, and the country was rocked by powerful peasant uprisings. Taking advantage of the internal instability in the country, a huge army of Manchus fell on China from the north, and in June 1644 they captured Beijing. The Ming emperor hanged himself so as not to fall into the hands of the conquerors alive. A new Qing dynasty was established, which, despite the enormous scale of the national liberation struggle, managed to retain power until 1911. During the entire period of Manchu rule, China was rocked by popular uprisings, at the origins of which were Wushu masters united in various secret societies. The apotheosis of the masters’ activity was the Yihetuan uprising (1911-1913), China became a republic. The new government led by President Sun Yat-sen provided great support for the development of wushu. Many clubs and organizations were founded to promote national martial arts. The largest of them were the Central Institute of Goushu (“National Art”) and the Shanghai Qinwu Association (“Association of True Martial Arts”). Both of these organizations had branches in almost all provinces. Fanginna art of counter-grabs 9 - tions of China and abroad, in places where Chinese are densely ~ populated in Vietnam, Malaysia, Singapore, the Philippines, etc. During the Second World War, many Wushu masters fought in the army or partisan detachments, making their contribution to the victory over Japan. After the Communist Party came to power and the PRC was formed, the government appealed to Wushu masters to come out of hiding, arguing that all motives for secret activities were a thing of the past. They believed the government, and in 1953 in Tianqing, from November 8 to 12, the first All-China National Spartakiad was held, most of which included performances by wushu masters. Subsequently, a group of masters who agreed to cooperate with the state, guided by a sincere desire to bring the mass of disparate techniques to a single standard, created a commission to reform Wushu. The famous master Cai Longyun, based on his .family style of Huaquan, as well as a number of other northern directions - Zhaquan, Paoquan, Hongquan, Piguaquan, Shaolinquan, etc., created the sports synthetic style of Changquan (long fist). Simplified taijiquan, sports variants of houquan (monkey fist), zuiquan (drunken fist), etc. were also created. Combat movements in the complexes of these styles were “diluted” with gymnastic and acrobatic techniques, which made them more spectacular, but less effective in real life. - al application. In addition, philosophical aspects associated with Buddhism and Taoism were removed from these systems, which deprived Wushu of its internal basis. During the period of the “Great Proletarian Cultural Revolution” (1966-1976), those who practiced wushu were subjected to massive repression as representatives of “feudal remnants.” However, at this time, thanks to Hong Kong action films, the popularity of wushu began to grow abroad, and in order not to spoil the international image of the PRC, Wushu was rehabilitated and officially permitted. = Now, despite the fact that the state continues to pursue a policy of turing wushu into a sport, “folk wushu” exists and continues to develop, preserving the traditions of the ancient masters.Liu Guoshen Grabs and counter-grabs Qinna (“Grips”) is one of the four traditional technical actions of Wushu (kicks, punches, throws and grabs). In hand- to-hand combat, weak spots such as joints, acupuncture points, and vital organs are often used to subdue an opponent. To deprive the enemy of the opportunity to resist, they resort to various methods of influencing these places, including captures. The opponent becomes helpless because after an attack aimed at some painful points, the condition of the muscles or bones goes beyond physiological limits, which causes painful shock, numbness, muteness or other negative consequences that completely deprive the opponent of the ability to resist. The history of Qinna is inextricably linked with the history of Wushu and goes back centuries. In Kun Yang's report "The Chunqiu Period’ there is 2 note about how some warriors used throat holds to strangle their enemy. In the “Book of Han” by Lou Jing there are also lines about the use of grabs. The famous Qi Jiguang also mentioned the gripping technique in his “New Book on the Effectiveness of Discipline” We have already said that Qing Na techniques are extremely dangerous. us and if your opponent holds a painful hold, then he gets a pretty big advantage. Therefore, the ancient masters developed counter-grab techniques (“Fanqingna”), allowing one to free oneself from the enemy's grip and, in turn, launch ‘one's own attack. There are many ways to capture. For example, in the Shaolin Monastery thirty-six methods of grasping and thirty- six methods of releasing them were studied, thus a total of 72 techniques. But since, according to the laws of the use of qinna, there are certain restrictions on their use, the most common seventeen methods of ginna and fanshchina are found in martial arts schools: 1. Break. 2. Press. 3. Unscrew. Fanginna art of counter-grabs i 4, Pinching. /5. Castle. 6. Roll up. 7. Move. 8& Cary, 9. Support. 10. Lift. 11. Hold. 12. Grasp. 13. Fasten. 14. Scissors. 15. Wrap around. 16. Place it under the arm. 17. Intertwine. When using the technique of grabs and counter-grabs, you need to be careful Carefully monitor the opponent's movements, act quickly and accurately, constantly keep an eye on the opponent's joints and, taking advantage of awkwardness or mistake, perform a technique. To master the technique of Qinna and Fanginna, you first need to work basic techniques of quanshu. These include = finger tenacity training; - finger piercing work; - exercises to strengthen the wrist and forearm. At the same time, it is necessary to practice strengthening exercises strengthening muscles, increasing joint mobility and ligament elasticity. It is also useful to do pair training, squeezing each other's hands, grabbing and holding each other. By practicing in this way, you need to bring the gripping technique to such a level when the fingers become like a sword, the palm of a saber, the grip of a hook, each finger individually and the whole hand as a whole - a rock In addition, it is necessary to thoroughly know the operating features and location of human organs, skeleton, muscles, joints, tendons, acupuncture points, etc. Captures can be made for the purpose of attacking the enemy, freeing him from hi: ip, taking away weapons and for other purposes. By practicing grips, they simultaneously develop agility, mobility, coordination, strength and other qualities necessary in battle.12 Liu Guoshen Eight basic postures of qinna 1. Be as vigilant as an eagle. It is known that Wushu requires attention and mobility. This is all the more important for capturing. The practitioner should “Keep your eyes and ears open,” anticipate movements and quickly respond to them to perform the technique. 2. Hands like a flying arrow. This figurative comparison implies the speed of hand movement when grasping. When gripping, it is necessary to coordinate the work of the hands in the hands, elbows, shoulders and other parts of the body. 3. Steady stride, like a stalking tiger. The art of grappling requires the practitioner to have knowledge and skill in zhuangong (the ability to withstand various types of pressure). An effective grapple or counter is nearly impossible to achieve without lower body stability. 4. The waist is flexible, like a jumper. This expression refers to the work of the body as an important requirement when using technology. In addition to vigilance of the eyes, speed of the hands, and a firm step, “expression of all movements through the waist” is required. This is especially important for performing Fangin techniques, which involve the whole body in movement and require high waist mobility. 5. Using breathing to concentrate strength. The practice of qin and fangin should be accompanied by breathing. physical exercises that form the basis for achieving inner strength. The art of breathing control is the art of concentrating one's own strength, and therefore a well- trained athlete has a significant advantage. “In a fight, victory goes to the fighter who breathes “deeply,” there is no ‘shallow’ breathing.” 6. Power is sudden, like lightning. Before applying the grip, the fighter carefully probes the opponent's “weak” spots. As soon as such places are identified, he attacks with lightning speed. Next, you need to develop your actions with increasing strength and decisive tactics to such an extent that your partner cannot dodge, move away or avoid capture. . Fanginna art of counter-grabs 13 7. Knowledge and experience improve skills. No matter how perfect the execution of one of the eighteen methods of gin and fan qin that you have learned, failure to switch to any other technique in time can lead to failure. 8. Presence is the key to powerful technique. The ability to be calm is —the basis for choosing the right tactics. He who is highly skilled has presence of mind; He who is not skilled loses his spirit. Presence of spirit is important in difficult situations and especially when miscalculations are made during a fight. A strong spirit can put to flight even an enemy superior to him in strength and technology.14 Liu Guoshen Theoretical aspects of Qinna and Fanqginn Qinn's entire technical arsenal can be divided into four main categones: - _ bone eversion techniques; - muscle separation techniques; - techniques for blocking breathing and veins; - techniques for influencing vital points. The first two types of techniques are basic and are studied at the initial stage of training. Techniques belonging to the third and fourth categories are quite complex. Mastering them requires in-depth knowledge of theory and extensive practical experience. In this regard, they are studied at a more advanced stage of training. Twisting bones This type of technique involves influencing human joints in order to disrupt their physiological functioning. If a joint is blocked or damaged, it cannot move. When a joint is impacted, the adjacent ligaments, muscles and nerves are also affected, resulting in severe pain. All this does the enemy incapable of further resistance. It should be noted that techniques related to this type can only be applied to movable joints of the human body. woes body Muscle separation This type of technique is divided into three categories: wrapping- gripping and pressing. The first category involves stretching and eversion of certain muscle groups. When a muscle becomes pulled and twisted, it temporarily loses its ability to function. Movement of the part of the body for which the muscle is responsible may be difficult or even impossible. In addition, during this exposure the nerves are compressed, which causes pain. Grabbing and pressing techniques are based on the same principles. Each muscle serves to flex or extend the limbs. This is accompanied by muscle contraction. Extension or flexion depends on the location of the muscle. A good example can be a Fanqinna art of counter-grabs 15 Biceps and triceps can serve. Here, one muscle is responsible for flexion, and the other for extension of the arm at the elbow joint. If any of these muscles are caught or compressed in a particular sensitive area, they are forced into an unnatural position, which excites the nerves, causing severe pain and local paralysis. Grab and press techniques do not require extreme precision, as the target of the attack is a specific area rather than a point. To make these techniques effective, the master only needs to use adequate muscular or external force. This strength is located primarily in the fingers, wrist and arm. Grab and press techniques use the principle of general defeat. There are areas that are easy to paralyze or cause put pain into them. These are: hand, arm, shoulder, neck, chest, waist and leg. There are several areas on the hand itself that may be affected. First of all, the main nerves run along both sides of each finger (Fig. 1, A). If any of these nerves are compressed with enough force, especially near the tips of the fingers, the entire hand can become numb. It is even possible to make a person lose consciousness. Further, on the back of the hand, between the tendons that lead to the fingers (Fig. 1, B), there are nerves that control various parts of the hand. By influencing this area, you can paralyze the enemy’s hand. Finally, the middle part (Fig. 1, B), between the thumb and index finger. This area is known as the “mouth of the tiger” (Fu Kou). Any concentrated force applied to it may cause loss of consciousness, There are four zones on the hand that can be effectively attacked. The first is on the upper part of the forearm, near the elbow joint (Fig. 2, A). The second is in the middle of the elbow joint on the inside. Pressure on this area causes pain and paralysis. The third zone that can be attacked is in the lower part, near the elbow joint (Fig. 3, B). Impacting these two areas with sufficient force can result in paralysis or loss of consciousness There are two vulnerable areas on the neck. The first side part of the neck, near the throat (Fig. 5, A). The sensitive neck muscles are located here. Pinching of these muscles leads to severe pain and loss of consciousness. The second zone is located onLiu Guoshen pte Be: Fig. Fig.2 (5) (A) Fig.3 Fig5 ‘ Rice. 7 Fig.4 Fanginna art of counter-grabs 17 @ Fig.6 Rice. 9 the back of the neck (Fig. 4, B). Exposure to it can cause loss of consciousness due to painful shock. There are two attack zones on the chest (Fig. 6, A; 7, A). These are the muscles at the front and back of the armpit. An effective effect on themis pinching In the lower part of the torso there are two vulnerable zones (Fig. 6, B; 6, C). The impact is carried out by capturing the muscles under the rib- ramie There are four muscle grip zones on the leg. The most difficult area to grasp is the area in front of the hip joint (ri- p.8, A), however, the influence on it is very effective. Next the area of influence is in front, above the knee joint (Fig. 8, 8). Next, the area in the center of the shin (Fig. 8, B) and, finally, the point on the calf muscle (Fig. 9, A). Blockage of breathing and veins This type of technique is divided into two categories: + breathing blocking techniques; + vein occlusion techniques. The first category involves effects on the respiratory human paths by blocking them. These techniques include This includes gripping and squeezing of the throat, as well as compression of the lungs. To compress the lungs, it is necessary to have in-depth knowledge of the nervous system. system that covers the large muscles surrounding the lungs cues. By influencing these nerves, you can force the muscles to contract -18 Liu Guoshen with such force that the opponent will lose consciousness due to pain and as a result of lack of oxygen. Vein occlusion techniques aim to target the carotid artery and jugular vein, which are located on both sides of the neck. As a result, blood stops flowing to the brain, which leads to loss of consciousness and possible death Impact on vital points This is the most difficult section in the art of Qinna. It is based on damage to specific points on the human body, which leads to teparalysis or death. Master Qinna uses 108 points to hit: impact on 72 of them leads to paralysis and loss of consciousness, attacking the remaining 36 points causes death. Points, the impact of which leads to paralysis or loss of consciousness, are located on meridians that are not associated with vital organs. The remaining points are located on the meridians of important internal organs. Human skeletal system Joint overview ‘Skeleton The skeletal system supports the human body. The bones are connected to. each other through joints. The human skeleton can be divided into two parts: torso bones and limb bones. The bones of the torso form the central axis of the body and the thoracic region. The bones of the limbs make up that part of the skeleton that causes movement. arms and legs. Main bones of the body: Torso bones: 80 bones. Skulk: 29 bones Body bones: 51 bones. Sternum: 1 bone. Ribs: 12 pairs. Spine: - Cervical region: 7 bones; - Thoracic region: 12 bones; - Lumbar: 5 bones; - Sacrum: 1 bone: ~ Coccyx: 1 bone. Bones of the upper limbs (total 64 pieces) Clavicle: 1 pair. Fanginna art of counter-grabs 19 Human skeleton Scull Cervical Deparment Collatbone Sternum Spatula “ Shou pout er Ribs Lee sees Elbow Be Lumbar pa mine dep Wrist ‘Sacrum Bones Coccyx nacrn Phalanx Patella no Thigh bene Tibial. bone Fibula ‘ Metatarsals Bones tarsus % Phalanges of fingers Spatula: 1 pair. Humerus: 1 pair. Radius: 1 pair. Carpal bones: 2 groups of 8 pieces. Hand bones: 2 groups of 5 pieces. Finger bones: 2 groups of 14 pieces. Bones of the lower extremities (total 62 pieces) Ilium: 1 pair. Femur: 1 pair. Patella: 1 pair. Fibula: 1 pair. Tarsal bones: 2 groups of 7 pieces. Metatarsal bones: 2 groups of 5 pieces. Toe bones: 2 groups of 14 pieces. There are 4 types of bones. They are formed from bone tissue, connective tissue and nervous tissue. Bone tissue, in turn, firstly, it is divided into the bone shell, the bone itself and the bone ny brain. The chemical components of bones include both organic nic and inorganic substances. These substances give bones elasticity and strength. Every cubic centimeter bones can withstand pressure of 2100kg.20 Liu Guoshen The ability of joints to withstand tensile and compressive loads is much greater than their ability to withstand rotational loads. Thus, the Qin Na technique emphasizes twisting joints as the most effective means of causing pain and injury. Articulation of bones There are two types of bone connections. The first type includes connections without a connecting cavity. These are fibrous and cartilaginous joints. They either don't move or move little. The second type includes connections with a connecting cavity. These are loose joints. They are quite mobile and therefore are the main object of Qinna techniques. Ligaments stabilize joints and limit their movement. Using the qinna technique, the joints are rotated against their natural movement, and the ligaments are primarily affected. If the joint is twisted to the limit and continues to be impacted The entire joint suffers. Loose joints They are divided into joints with one axis, two and many axes (see Fig. “Types of free joints”). Joints on one axis work like gates; they rotate in one plane around one axis. An example would be the elbow joint. Double axle joints work like the axle and wheel of a car. They can form a cross at the junction. They can also capable of stretching, compressing and rotating from the inside out. For example, bones are capable of movement in two planes. Multi-axis joints move around multiple axes and are capable of a large number of actions. An example of this type of joint is the shoulder joint. The range of motion of a joint depends on the surface and structure of the jointitsolt Flexing and stretching Forward movement is flexion, backward movement is extension. Horizontal flexion and extension When a raised arm (or leg) is extended to the side and then moves forward, this movement is called horizontal placement bending. Fanginna art of counter-grabs 2) Lh ER it Saddle Ball and socket Door hinge (shoulder) (elbow) (thumb joint) = Slip (wrist #3 (wrist = side to side) Gee up and down) Double axis Single axis l Multiple Axes W &. Double axis fa Ce) oO ~ Types of Free Joints22 Liu Guoshen Stretching and Comprossion If the bone rotates from the center point of the joint, this is a sprain. If the bone rotates back towards the center point of the joint it is = compression. Rotation in and out When a joint extends and rotates towards the body, it rotates tion inward, if from the body outward. Turnover When one end of the bone remains in place while the other makes a full rotation. Joint movements are limited. The limit of movement depends in part on the ability of the muscles to stretch or contract. To a large extent, the limit of joint motion depends on the structure of the joint, the thickness and tension of the tissue, the number and strength of ligaments, and the shape of the cartilage. In general, the thinner and softer the tissue of the joint and the smaller and weaker the ligaments, the greater the mobility of the joint. Using the Qinna technique, the most mobile joints are attacked. Overview of the Human Nervous System In the practical study of qin, in addition to knowledge of the skeletal system, joint structure and movement technique, it is also necessary to study the human nervous system. It is especially important to know the nerves of the central nervous system, their roots in the body and the places where they are closest to the surface of the skin. These places are subject to compression and impact. When a nerve ending is hit, the enemy feels a kind of electric shock and loses the ability to defend himself. The nervous system is divided into central, autonomic and peripheral. There is a division into nerves of the skin, muscles, joints, on the one hand, and nerves regulating internal organs, the circulatory system and glands, on the other hand. Roots and location of nerves To use Qin Na techniques, it is very important to know the four main plexuses of nerve roots and the main nerve points of the body, in order to accurately and effectively strike and carry out grips at these points. Motor nerves usually follow the contours of bones and form a node with blood vessels. These motor nerves usually run deep within the muscles and are therefore well protected from external influences. However, they Fanginna - the art of counter-grabs 23 Cervical thickening Cervical region Cervical plexus Connection of Brachial plexus the thoracic region Thoracic region Nerves of the thoracic region Lumbosacral thickening Lumbar Lumbar plus Sacrum ome Sacral Brachial plexus Radial nerve Median nerve Ulnar nerve Lumbar plexus Sacral plexus Femoral nerve Sciatic nerve Superficial peroneal nerve Saphenous caltnerve Nervous system24 Liu Guoshen pass through the joints and in some cases come to the surface. Itis in these relatively unprotected places that blows should be struck. Main points for hitting grips Nerve connections At the junctions where nerves cross joints. Places such as knees, wrists, fingers, elbows, and ankles are not protected by muscles. Twisting will easily cause pain and damage. Other places where nerves are close to the surface of the skin may also be attacked For example, in the elbow joint, the ulnar nerve is located close to the surface and is not protected by muscles. If the elbow is bent at a certain angle, exposing the nerve, a gentle blow or compression to this area is enough to make the arm go numb and lose its strength. la sensitivity. Another example. If you hit your opponent lightly on the outside of the kneecap, it will damage the peroneal nerve. As a result, his leg will become numb and he will temporarily be unable to use it. A weak blow leads to temporary incapacity, a strong one can cripple. Unprotected nerves Some joints, such as the elbows, knees, shoulders and hips, also have nerves, some running inside the joint or protected by a thick layer of muscle. However, other nerves in the same locations, such as those in the armpit or abdomen, are covered by thin tissue. Depending on the strength of the attack, these areas can either temporarily neutralize the enemy. Either cripple him or even kill him. Nerve cavities Although the nerves of the head, neck and torso are deep inside and well protected, there are specific points that can be attacked. In any cavity in the human body, the nerves can be attacked with great effectiveness. A depression is a depression in the body where the covering tissue is soft. For example, the notches above and below the collarbone are where many of the nerves that control arm movement are located. You can also give an example of a cavity behind the ear and behind the lower jaw. Many nerves of the brain are located here, these places are often attacked by a Qinna master, causing pain, numbness and temporary loss of consciousness in the opponent. Fanginna - the art of counter-grabs 25 central nervous system There are many vulnerable points to attack on the neck and back. These points are directly connected to the central nervous system, so exposure to them can even lead to death. Autonomic nervous system Active effects on the nerves of this system can also lead to death. This is possible due to the fact that the autonomic nervous system is responsible for the functions of internal organs. Impacts to the liver, spleen, stomach, and heart can be fatal. A blow to the solar plexus causes pain and spasms in the abdominal muscles, as well as breathing problems. The enemy is unlikely to be able to offer you further resistance. Overview of the limits of movement of the skeletal system The movement of the body in space depends on the movement of the torso and limbs. Movement of the entire body is not simply the result of the movement of individual joints, but the coordinated movements of a series of joints in a specific sequence. According to anatomy, different combinations of joint movements create different “chains of motion.” Different joints mutually support and inhibit each other, making any complex body movements possible. Thus, to study qin it is not enough to know how to capture or close points on the opponent's body. But it is also necessary to understand and take into account the overall effect of this action on the skeletal system as a whole. Motion chains The human body is a complex mechanism and a very “open system”. There are more than 200 joints in the human skeleton, but for our purposes we will highlight only the 15 main ones. These joints work together to produce 5 separate chains of motion. The fifteen main areas of the body connected by joints are the following: (1) head, (2) neck, (3) torso, (4) left shoulder, (5) left forearm, (6) left hand, (10) right shoulder , (11) right forearm, (12) right hand, (13) left thigh, (14) left shin, (15) left foot, (7) right thigh, (8) right shin, (9) right foot (cm . rice.). These 15 zones are connected by major joints and form systems that produce five main chains of movement.26 Liu Guoshen Head Neck Shoulder Breast Forearm Hypogastfum Bush Hip Shin Foot The most important connections of the human body Five motion circuits 1 chain: motor abilities of the torso The torso includes the head, neck and torso with the spine as support. The torso is the center of life support and movement of the body. The other four chains of movement are subordinated to the movement of the torso. Inside the torso are located all the organs and main systems for maintaining the vital functions of the human body. Correctly applied ginna techniques to the torso are quite effective, and when used to their maximum, they can be fatal. 2 and 3 chains: motor capabilities of the upper limbs The motor capabilities of the upper limbs depend on the structure the collarbone, scapula and the connection between the arm and the torso. Joints involved in the chains of movement of the upper body: from the shoulder, through the humerus, radius, ulna, wrist, metacarpus and to the fingers. Motor capabilities of the upper limbs are the most are wider and have the largest limit relative to other Fanginna - the art of counter-grabs 27 ea different chains of body movement. The movement of the upper limbs is most more important in the art of Qingna. Circuits 4 and 5: motor capabilities of the lower extremities The motor capabilities of the lower extremities depend on the joints of the hip and torso, from the hip through the femur, knee, tibia and fibula down through the ankle joint to foot. The lower limbs are a means of movement movement of the body in space. In Qin Na, the lower limbs are important to maintain balance, mobility and maneuverability ra. In the application of Qin Na techniques, the lower limbs are attacked, to upset the opponent's balance, confuse and distract his attention from the use of other techniques. Movable joint, responsive movement and block The "Movable Joint" reaction refers to the connections of the joints that in pairs they form a lever. The joints are considered as axes, and the movement of the bones as reciprocal. “Response movement" refers to the result of applying applying force to the joint in a particular direction, while simultaneously blocking the bone associated with the joint moves in response. The result is responds to movement (the 2nd bone moves in response to movement movement of the first bone), starting a chain of movements. “Trochlear reaction’ refers to the rotation of a joint until it is locked, causing a corresponding reaction in the adjacent bone. In this case, the reaction continues as the connected bone is blocked, which in turn blocks the next bone, and so on, until the entire chain of bones in the entire body is blocked. Understanding the effects of reaction movement and block reaction tion is very important in the application of Qin Na techniques. Having understood the principles reactive movement and blocking of bones (especially those which are located close to the torso) to cause chain re- action that controls the opponent's body can be directly apply ginna techniques effectively and efficiently. On the other hand we, if you apply the ginna technique to one joint without taking taking into account its connection with the whole body, one can at best call cause pain in this joint. For example, using the Golden silk entwines the wrist”, if you control the opposite wrist - ka and rotate it as far inward as possible, but do not pay attention28 Liu Guoshen By relying on the reactive movement and lateral reaction of the entire body while twisting inward, you can get into trouble Failing to block the opponent's entire body while blocking the wrist can lead to problems, as the opponent may use an elbow or turn (which is what most fanqin techniques are based on). Open and closed motion chains Motion chains are sequential motion systems consisting of combinations of several pairs of moving joints. Movement in the human body results from the interconnected movements of the joints. If you kick upward, the opponent can easily raise his leg to counter-action, since this “chain of movement’ is open. By kicking downward, the "chain of motion" becomes closed as the downward force presses the opponent's foot down to the ground and makes it difficult to resist. Open circuits. Open chains of motion refer to joint systems that can move independently without involving other joints in response. Examples of open chain motion are head, arm, and leg movements. Most body movements are in an open chain of motion. If you kick upward, the opponent can easily raise his leg to counter-action, since this "chain of movement" is open Closed circuits. Closed chains of motion refer to joint systems that, when moved, cause a response movement in other joints. Fanginna - the art of counter-grabs 29 and thus necessarily introduce limitations into the overall possibiies If you kick downwards, the "chain of motion" becomes closed, as the downward force pushes the opponent's leg down to the ground and makes it difficult to resist. The practical qin technique aims to control the opponent's potential movement as its main goal. Opportunities are being sought to close traffic chains and limit free movement. Locking one joint and therefore causing a reactive movement and blocking reaction to control the opponent's entire body is the goal of the ginna technique. For example, if you kick upward or grab the opponent's knee joint from the inside, because the shin is part of the open chain of motion it can easily move, the most that can be achieved is minor damage. But if you kick downwards from the inside, downward pressure will go down to the opponent's foot. And it won't be easy to lift your leg. The open system of movements will become closed. Since the knee cannot move outward, the ankle and hip will become locked. This block reaction will cause the opponent to fall on his back. The knee, ankle and hip will be injured. As another example, let's take the Qin Na technique, which is called twisting the opponent's head. If you turn your head around one axis in a horizontal plane, such a movement will be an open chain and the opponent can easily escape the grip. But if you rotate your head from side to side, along two axes at the same time, your neck is blocked and you can easily knock down your opponent, causing him serious damage.30 Liu Guoshen Rows of movements Human movements occur in three dimensions. To study the movements, you first need to look at the 3D model. Completely free movement, without any restrictions, occurs. along three planes of movement (axes). X axis is forward and backward, Y axis is right and left, axis 2 is up and down. If an object has one point fixed, it can rotate about all three axes, moving freely in all three planes. In the human body, movements around these three axes include rotational and circular movements, which together form six possible ranges of free movement: + Moving forward and backward Movement right and left + * Up and down movement - Rotational movement «Roundabout Circulation - Diagonal movement (at an angle) In the human body, not all joints allow adjacent parts of the body to move according to all six rows of movements. The motor capabilities of different parts of the body depend on the mutually supporting or inhibiting nature of the bones or joints. For example, if the elbow is fixed in space, the forearm can only move freely along two axes. The fingers, when holding the hand, move freely only in one plane. The hand thas different motor capabilities if the elbow moves relative to the moving shoulder. In open chains of motion, the joints have the maximum amount of motion. Take, for example, the hand: the motor capabilities of the hand are greatest. The shoulder relative to the shoulder joint moves in three planes, the forearm, relative to the elbow, has two rows of movement, but in general the arm relative to the shoulder joint can move in all six rows. The motor capabilities of the body must be studied in order to understand the methods of controlling its movement when using Qin Na techniques. As a rule, the first step is to control the end of the largest movement and limit its freedom. The second step is the application of a lock, which will lead to a blocking effect that binds the entire body. In the previous example, the end of the largest movement refers to the hand. The arm can move from the wrist, through the elbow and shoulder when techniques are used correctly Fanginna art of counte: 3 zinc if his elbow and shoulder are controlled. In real combat, if you can apply a lock to one of your opponent's shoulder joints, especially if the lock affects the torso, you can severely limit his range of movement. The canons of fist fighting say: “grabbing the hand is not as good as grabbing the elbow: the shoulder will move the elbow, and the hand will twist the elbow, and the opponent will be defeated.” 2- Vertical X - Through Y- Horizontal 3D body with ‘three axes of motion Note: Using blocking skills and full body control enemy is a much higher level than the “more high techniques” that only involve locks or cause pain only in one joint. Although painful techniques work well melt in practice, in a real battle, when the enemy has increased adrenaline in the blood, or he is drunk, or perhaps drugged kami, painful techniques do not work. Painful techniques are only as “bridges” to distract the enemy and open him up to subsequent use of techniques that block his entire body, making him unable to resist.32 Liu Guoshen Mechanics of Qinna When studying the use of force in ginna, it is important to understand the principles of mechanics of the techniques. By using these principles correctly, you can apply little effort to get maximum results. Basic principles of mechanics There are three components to the use of force: = Amount of force; - Direction of force; = Point of application of force. In a real situation, there are two methods of defeating the enemy. The first method boils down to directly countering your opponent's strength with even greater strength on your part. In this case, the one with more power will win. Another method focuses on working with the direction and point of application of force, as well as the fact that the fight takes place in three-dimensional space. |n this case, it is possible to dissipate force from an almost infinite number of angles. There will always be one direction that will be most effective in dealing with the attacker's strength. During combat, it is unwise to directly confront the enemy's strength. It is necessary to let this force pass by oneself and use it against the attacker himself. Following your opponent and adding your energy to his in order to “borrow” his strength and achieve victory with the least effort is the basis for the correct application of the principles of technique. Lever principle Most qinna techniques use lever mechanics. A ‘wer — js a simple design in which a “lever arm’ is driven by a force that causes it to rotate about a “pivot point.” The “pivot point” is a fixed support called the “fulcrum”. The mechanics of the lever allows you to increase the force many times over. The principles used in ginna techniques allow one to lock the opponent's limbs without allowing him to escape, and achieve victory with a minimum of effort. Using the principle of leverage, Fanginna art of counter-grabs 33 Itis necessary to take into account not only the amount of force applied, but also the location of the fulcrum relative to the point of application of the force. In qinna, the lever arm is what forms a straight axis from the point of application of force to the object to be moved. The distance between the point of application of force and the point of support is called Xia "Shoulder of Power’. Shoulder of power Lever arm Shoulder weight Fulcrum Simple lever All human movements involve lever mechanics. In Qing Na, it is especially important to take advantage of leverage to increase efficiency and strength. Qinna techniques use two types of levers, namely first and second class levers Levers of the first kind For levers of the first kind, the fulcrum is located between the zom and the applied force. A classic example of this class The lever is a swing-board. In ginna practice, an example of a first-class lever is when force is applied to the opponent's arm to lock the wrist, elbow, and shoulder. If the force arm is longer, there is a greater mechanical effect and therefore less force needs to be applied to the lever. Thus, you need to apply force close to the tips of your fingers. cs (F-2) as opposite to the strength of the hand (F-1). The fulcrum (your hand) is located near the opponent's elbow and is felt in his shoulder, which is the load. In the picture we see another example of this type of lever. Cargo - This is the shoulder, the fulcrum is your elbow, placed near the opponent's elbow, and the force is applied to his forearm, closer to the wrist.Liu Guoshen ee ce SU Fulcrum Force Wrist Forearm Elbow ‘Shoulder Brush Force Fulcrum ‘ Cargo Application of the principle of lever of the ‘st kind Fanginna art of counter-grabs 35 tew, for better leverage effect. If the force were applied to the forearm closer to the elbow, the mechanical efficiency of the lever would be much lower. Second-class levers These levers differ in that the load is placed between the force and the fulcrum. A classic example of a second-class lever is - = point. In the technique shown in the figure, it is clear that the fulcrum here is the shoulder, the force is applied by the body of the defender, and the load is the opponent's forearm. Force Shoulder of power Lever arm Fulcrum Force Cargo Fulcrum Application of the 2nd kind lever in ginna Rotational movement Some important principles of rotational motion are listed Lena below. Ps 1. The further an object is from the center, the faster it moves. When multiple objects rotate around a central point or axis, at the same time, those objects that are located far away higher from the center, travel a greater distance than those located wives are closer to the center and, therefore, move with greater speed stu. In the figure we see that objects rotate around the center central point at the same time, moving from point A to point B,36 Liu Guoshen travel a greater distance and, therefore, have greater speed than objects moving from point A1 to point BI. Obviously, objects moving from point A2 to point B2 travel the shortest distance and, therefore, have the lowest speed. Conclusion: at different points the speed is different 2. The larger the radius, the easier it is to move the object. If we apply a force from the outside to make something rotate, the greater the distance between the point of application of the force and the axis, the more energy is stored. That is, the longer the radius, the less energy is required to rotate the object around the central point. center point 3. The further an object is from the center, the greater its inertia rotation. Inertia is the desire of a moving body to remain in motion. zheniya, in the absence of influence of the external environment. Rotating objects have what is called “rotational inertia.” “ Objects that are located further from the center have inertia tion of rotation is greater. In martial arts we use this principle, stopping the inertia of a rotating body, butts - bringing our strength closer to its center. For example, blocking a shot opponent struck with the back of the hand requires less strength if you do it near the elbow than if you do it near the hand. Easier than wasp place the baseball bat near the handle rather than near the end. Fanginna - the art of counter-grabs 37 ee Qinna practitioners should thoroughly understand the above- These principles and how to apply them in the Qing Na technique. These principles are applied in the techniques as follows. Rolling and the principle of friction When applying the rules of rotational motion of a body, we must use the principle of friction. Friction is the result of two objects interacting with each other. When applied to martial arts, when an opponent uses force, one must quickly turn one's body or arm in the same direction to increase its momentum. Follow your opponent's movement by turning to the side. When the opponent attacks, | am forced to rotate my arm to increase the speed of his strike, while at the same time | quickly turn my body so that the opponent misses the target and loses his balance. Impact force Attacker's hand —_ Resultant force erecrecnfie Hand Rotation force dofending Body defending Impact force Force rotation Attacker's body =p Resultant foxoo Traction and rotation to neutralize force Applying this principle to the famous technique “locking the hand", | apply direct force of my forearm to the opponent's hand, causing him to twist unnaturally Another important physiological principle associated with “recording” hand injury" is based on the fact that the wrist is stronger when38 Liu Guoshen the elbow is bent than when it is locked and straight. Thus, it is a little easier to block an opponent's arm by grabbing his wrist with one hand and rubbing the other hand along the bottom of his shoulder to twist and lock, than to grab his wrist with both hands in an attempt to block his arm. The important point here is that when blocking the opponent's arm, he has much less power remaining than if his elbow is bent. Frictionally rotating the shoulder near the elbow using the arm locking technique is much easier than simply trying to twist the wrist or applying direct force to the back of the elbow. cha to straighten it. With the above principles in mind, | will describe the hand locking technique. My left hand grabs the opponent's left wrist and turns it down. Simultaneously, my right hand passes with friction across the opponent's shoulder just near the elbow, causing the arm to rotate. The combination of these two forces gives great strength that the enemy cannot resist. In this technique, since the radius of the opponent's hand is greater than the radius of his wrist, and the movement of my rubbing hand (right) is greater than the movement of movement of my rotating arm (left), movement under the influence friction mechanically more efficiently. Hand —! defending ) Attacker’s hand eo 1 1 1 Ce Example of hand locking Fanginna art of counte! 39 Separation by Rotation This uses the principle of lifting with a lever in two dimensions and is applied against the opponent's joint. We will use the rotating body principle by creating an imaginary axis between the opponent's shoulder and wrist joints, forcing him to bend his elbow. By rotating his elbow around this axis, we lock the wrist, elbow and shoulder. Since the lever is operated from two directions simultaneously, a triangle is created, which is the most stable structure. This blocks all movement of the opponent's upper body. In this position he will not be able to resist. a) rotation Dot rotation Force Elbow a Radius rotation ne Shoulder rotation Wrist Twist rotation . The method of using friction to turn out has been explained above. joint. When both my hands are on the opponent's wrist,4 Liu Guoshen So, how is it possible to use the principles of mechanics for your benefit? The answer is to use the qin na method of “twisting twist.” To achieve this, you must learn to control the free end (upper part) of the opponent's chain of motion (wrist). With the wrist as the top and the shoulder joint as the base (root), the opponent's arm moves in an arc. Since you are holding your opponent's hand by the wrist, twisting will cause his hand to twist out. The question arises: should you turn your wrist first and then your body, or turn your back first and then turn your wrist, or maybe both at the same time? To determine this, we must test the principles of mechanics. There are two special characteristics of a rotating body: - the further the point is from the center, the greater the ~inertia; the greater the inertia, the lower the angular velocity. When the rotational inertia is small, the angular velocity is large. An example of this is a figure skater spinning-on one leg. The further his arms and free leg are extended, the slower he spins. As the arms and free leg move closer to the body, the speed of rotation increases. When both of your hands control the free end of your opponent's chain of motion, you use force and make a curve with your hand in the air. The larger its radius (distance to the shoulder), the more effective the rotation action. At the same time, taking your body as the axis of rotation, you quickly turn around it, increasing the inertia of rotation. It is also important to remain at arm's length so that it remains straight and the radius is thus maximized. The rotational force of his shoulder joint will also be maximum. As you twist your entire body, you simultaneously twist your opponent's wrist, forcing his elbow to exceed its normal range of motion. As a result, three joints are blocked atthe same time. It is possible to reduce the radius of rotation by making the opponent's elbow joint the axis. This will reduce the radius, which in turn will increase the speed at which the limb twists. This, in addition, will bring the point of application of force closer to the central axis, which will further increase the speed of eversion. We already know that force equals mass times acceleration. When mass remains constant, increasing acceleration leads to increasing Fanginna art of counter-grabs 4 ee —_ strength. This corresponds to the saying: “The greater the speed, the greater the force.” From the above we see that by controlling the end of the chain of motion (wrist, ankle or head) and using the twisting method, you must first twist and then twist the opponent's limb. In this case, turning out should but begin during rotational motion. It should be emphasized that the twisting technique can lead to serious consequences, especially in the case of neck twisting. These techniques should be used with extreme caution and only in extreme situations. ‘Small crele Twist rotation42 Liu Guosher Connection and scissors Most ginna techniques are based on the above principles. Another important principle that is used in some techniques is connection. A connection consists of 2 forces of equal magnitude acting in parallel but in opposite directions. On the one hand, the energy of the connection can increase the destructive force, on the other hand, it also helps to block the chain of motion of the opponent, causing his joints to twist, introducing a blocking reaction. Let's give an example of using the connection principle. Your left hand moves to the right and your — tight wrist to the left at the same speed, affecting the opponent's hand. With the shoulder joint as a fulcrum, his arm will be injured as a result of the application of two opposing forces. In addition, given the structure of the elbow joint, forces will cause it to rotate with respect to the shoulder joint as an axis. The line from the elbow to the shoulder joint is the radius. This rotational movement will lock the elbow and shoulder joints. Since the force is applied to the front of the opponent's forearm, his the body will be forced to move forward. Often this reaction is used to prepare and carry out many subsequent techniques. - Fulcrum Force Compound ae Shoulder Force Fanqinna art of counter-grabs 43 —<$— Force Dot rotations Foros Dot i wae “Force Force Wrist The principle of scissors applied to ginna rotation Another form of connection is the force generated by the movement | eat the “scissors” type. Here the connecting forces pass close from each other. The movement resembles the movement of a sickle or a cut - cutting something with scissors. Two equal forces are fixed at very small space but with great effect. In some technical nikah in order to achieve an increase in destructive power, especially4 ; Liu Guoshen Se but in wrist techniques, this principle is often invoked. For example, gripping and friction techniques use forces moving in exactly opposite directions. The spinning and arm- breaking techniques also use energies moving in opposite directions, although in a slightly different way. The scissor effect is used more often in techniques applied to the wrist. These types of moves not only cause pain, but also cause a blocking reaction, immobilizing the opponent's elbow. This puts pressure on the shoulder and makes the opponent unable to resist. By practicing ginna without understanding the physical principles and mechanics of movement, it is difficult to achieve high mastery in this art. Having carefully studied the theory and principles of gin, the student will not only improve known techniques, but also discover new ones. Fanginna - the art of counter-grabs 45 Racks The correct stance is the basis for performing the correct movements. This principle is common to all martial arts. That is why correct mastery of the basic stances is the first step in learning Qin and Fangin. In other words, the accuracy and speed required for effective defense or attack is directly dependent on the correct stance, chosen taking into account the skill and style of the opponent, which can be determined by assessing the stance adopted by him. In addition, any stance is - not just a physical position of the body, but an expression of the state of mind and spirit. No matter how correct the stance, no movement will be effective enough without appropriate mental preparation. Therefore, a stance is a state of body and spirit necessary for quickly and effectively performing techniques. A very important factor when choosing a stance is the distance between you and your opponent. The correct execution of the stance also depends on breathing, gaze and your internal state. anna, In order to learn the correct stances, you need to carefully consider and firmly understand all of the above provisions. Only in this case can the stance become the basis for quickly and accurately performing the desired technique. Mabu Mabu, or horse stance, is used as a transition position between techniques and forms. When taking this stance, first, place your feet parallel and slightly more than shoulder- width apart. Next, slightly bend your knees and turn them to the sides (Fig. 1). Densanbu This is the most important stance in ginna. It is used in all attacking actions. As you take your stance, place one foot in front so that your knee is over your ankle. This leg accounts for 60% of the body weight. The toe of the foot is directed at an angle of 15 degrees inward. The leg left back rests firmly on the surface and supports the remaining 40% of the body weight. In this stance the knee46 Liu Guoshen The leg set back should be slightly tilted. Keep your body position perpendicular to the ground (Fig. 2). Tsaopanbu Tsaopanbu, or cross stance, is used for forward movements and turns. To assume this stance, you must first assume the Mabu stance. Turn your torso to the left 90 degrees. At the same time, it is necessary to turn the feet of both legs. In the final position, the right leg rests on the ground with the balls of its toes. This is a left-handed position. If you turn 90 degrees to the right from the Mabu stance, you will assume a right-handed stance. In this case, the legs will change their position to the opposite. It is characteristic of both stances that the leg set back can easily move forward (Fig. 3). Sulub This is a defensive stance. The front leg supports 40% of the body Aa Fig.1 Fig.2 Fig.3 Fig Fangqinna art of counter-grabs 47 Zhuangong - "art of the pile" Zhuangong is the ability to maintain a stable position under any influence. Standing “like a pole driven into the ground” is said about this method. In Shaolinquan, it was recommended to thoroughly master the art of Zhuangong in practice before starting to study the art of duel. 41. Hunyuanzhuang (position “diamond altar”) 1. Feet shoulder-width apart, toes pressed to the floor. The knees are slightly bent, the arms are freely lowered along the body, the elbows are slightly bent. you, palms facing back, fingers open. It is necessary to relax your shoulders, elbows, hands and fingers. The head and neck are in an upright position, the chin is slightly retracted and lowered, the tip of the tongue touches the roof of the mouth. 2. Stand up straight, straighten your spine. The body is slightly tilted thread forward, but without protruding or retracting the chest or lower back. Slightly tighten the muscles of the buttocks and maintain balance so that the center of gravity of the torso passes through the front of the feet. 3. Look in front of you at the floor at an angle of 45 degrees (Fig. 5). The exercise is designed to train internal breathing - development and regulation of “internal strength’, to activate the activity of internal organs, increase qi and increase the stability of the lower extremities. Important points +The main requirement when performing this exercise is the readiness to move through immobility. By training Zhuangong and mastering the ‘art of stillness,” the practitioner will experience extraordinary reactions in his body, which is a reflection of the activation of internal breathing. There is no need to be afraid of this. -When bending slightly forward, press your toes to the floor, slightly tuck your tailbone, and stretch your body Fig.548 Liu Guoshen weaken. During the entire session, these parts of the body should not relax. - Before and after classes, it is necessary to make rotational movements with the eyes: 36 times to the left and 24 times to the right. When practicing Hunyuanzhuang, your eyes should be open. The preferred color before the eyes is green; red and yellow objects should be avoided. - Concentration of attention falls on the points laogong (on the palm), qihai (lower abdomen) and yongquan (on the sole). At first, you need to concentrate your attention on one of the above points. Then you can concentrate on the points in turn: laogong, qihai, yongquan. After a year of regular exercise, you can concentrate at the same time at three points. - For beginners, Hunyuanzhuang training time is 10-15 minutes. Gradually increase the time to 1 hour. For successful people - up to 2 hours. - During classes, you should throw all abstract thoughts out of your heed. 2. Zhiyuzhuang (“Wohan holds up the sky”) 1. Feet shoulder-width apart, toes pressed to the floor. Bend your legs and bring your knees together in a half-squat, tuck your buttocks. Extend your arms to the sides, palms up, fingers open and relaxed. The elbows, waist, especially the shoulders are also relaxed. 2. Keep your head and neck in an upright position, chin the dock is slightly tucked, the tip of the tongue touches the palate. The body is straight, the feet are pressed into the floor. Look in front of you with concentration, relax the corners of your mouth as if to smile (Fig. 6). Important points -Keep your body straight, gaze directed straight ahead. The rest is the seme — as in Hunyuanzhuang. - Beginners are unlikely to be able to stand in this position for more than 3-5 minutes. In the future, the time for performing the exercise should be increased to 2 hours. Fig.6 Fanqinna art of counter-grabs 49 oo Pigun Pigun, or hand training, is essential for learning technique. grappling and other martial arts techniques, since it is impossible to perform a strong strike, grab or blocking action if your arms are weak and not accustomed to stress. 1. An iron bull plows the earth. 1. Take a position lying on outstretched arms (hands shoulder-width apart), fingers pointing forward. Tighten your waist and knees. The body is straight, the feet are apart (Fig. 7). 2. Bend upward (Fig. 8). 3. Slowly bend your elbows, straightening along the floor (Fig. 9). 4, Straighten your arms, bending at the waist. Legs are parallel to the floor (Fig. 10) 5. Repeat the movements from the beginning (Fig. 7). Important points Movements should be slow, even and continuous. mi. Where necessary, keep your body straight and, when moving forward, carry your body as close as possible above the floor. When moving backwards, bend as much as possible. Beginners should repeat the movements 15-30 times and gradually increase the number to three hundred. FL AS Fig.7 Rice. 8 Fig.9 250 Liu Guoshen 2. The leopard lies in the cave. 1. Take an emphasis lying on an outstretched arm. The edge of the supporting foot ison the floor, the other is ontop. Keep your body straight. The {ree arm is extended upward or to the side (Fig..11) 2. Bend your supporting arm and bend close to the floor, keeping your legs straight (Fig. 12). 3. Stay in this posttion for a while, and then slowly rise up, taking the previous position. Repeat the exercise ‘again and change hands. The exercise is aimed at strengthening the muscles of the arms and abdominals, as well as the ability to coordinate body movements. Important points - Only the arms and legs of the same name are supporting. The rest of the body does not touch the floor. The free hand serves to ba- body alignments Beginners should repeat the movement 3-5 times on each side, constantly increasing the number of repetitions up to 100 times. - The two above exercises are easy to perform and are the basis for mastering the technique of techniques. Redon Fig.12 Zigong Zigong or finger training is no less important for gripping techniques, .as well as for performing piercing, pressing, and rotating movements. Fanginna art of counter 31 4. Grab the jug. 1. Bend your legs, place your feet at a distance slightly wider than your o4de (Mabu stance). Clench your hands into fists and bring them to belt The inside of the fist is directed upward. The body is straight. 2. Keep your head straight and shoulders down. Breathing is performed from the lower abdomen. 3. You need to relax, close your mouth and clench your teeth. The gaze is directed to the opering of the jug. Inhale and get ready to take the jug in your hand (Fig. 13) 4, Grab the jugs by the neck and slowly lift it up chest level, then move itto the side and lower ito the ground. Return the jug to its place in reverse order. Repeat the exercise with another with your hand (Fig. 14, 15). This exercise is designed to develop finger strength. — ‘2 fundamental quality in the “art of capture.” Imporiant points * Stage 1: lifting the jug with a bent arm. + Stage 2: lifting the jug with a straightened ‘arm. + Stage 3 - gradually fill the jug with water or sand until its fling + At the first stage of training, lft the jug with each hand no more than 40 times, gradually increasing the number of repetitions to 100 times. The lifting heights 20 cm with a subsequent increase in the distance to shoulder level. At other stages, follow the same conditions. ne 52 Liu Guoshen 2. Push-ups on fingers. 1. Take an emphasis lying on straight arms. Hands shoulder width apart. The fulcrum is five fingers on each hand, 2. For beginners, perform 5-7 push-ups, gradually increasing their number to 50 3. Having strengthened your fingers, you can perform the “Bull Plows the Ground” exercise on two fingers (thumb and index) (Fig. 16, 17). Fig.16 Fig 17 Somersaults and falls Falls certainly an important part in technology, especially in those ‘the body from cases when it is necessary to free oneself from an ‘opponents grip. In addition, somersaulls — This is amethod of protecting and falls cause damage during falls and throws. Techniques related to this method allow you to avoid injuries in training and in real ife situations 1. Hard fall forward 4. Stand with your feet together straight. 2. Before faling, bend your arms infront of your chest 3. Fall.forward and land.on your forearms, while your body must be straightened (Fig. 18, 19). Rice. 18 Fig.19 2, Somersault forward over the back 1. Sit down, lower your hands with your paims on the floor (Fig. 20) 2. With your palms on the floor, push off with your feet and perform somersault forward. The chin should be pressed to the chest (Fig. 242, 3, Somersault back over the back 1. Squat down with your knees bent (Fig. 24) 2. Press your chin to your chest and perform a back somersault (Fig. 25). 3. Having completed the somersault, take the starting position (Fig. 26). 4. Soft roll over the shoulder 1. Tum your shouldrs tothe left and bend over. 2..Bend even lower and touch the floor with your right shoulder and left palm. 3. Roll over the shoulder blade, making a somersault 4. Rise up using your left palm (Fig. 27-29). In.a similar way, you can roll over another (left) shoulder.54 Liu Guoshen Fig.20 Fig.21 Fig.22 Fig.23 Fig24 Fig.25 Fig.26 Fig.27 Fig.28 Fig.29 Fanginna - the art of counter-grabs 55 Fanqing techniques Qingna's techniques are extremely dangerous even in training, since the main goal of this system is to put the enemy in a position in which he would not be able to protect himself from a fall. Grabs and throws result in displacement of vertebrae, fractures of limbs, severe bruises, including internal organs. To avoid such throws, a system of counter-grabs was developed - Fanginna. In the ancient classical schools of wushu there was no clear distinction between gripping and counter-grabbing techniques, since they were studied together as one whole. Following the instructions of the old masters, in this book we will present a description of all techniques according to the traditional scheme: you attack the enemy by means of a blow or a grab, in response to your action, he carries out a technical technique from the qinna section and you use a counter technique. Important points + Before starting to study the Fanqin technique, it is necessary to thoroughly practice the basic techniques of Qin, described in the book “Qin Na Art of Painful Grips”. + When the throw or crease has entered its final phase, it is very difficult to escape, so most of Qinn’s fan techniques are carried out at the very beginning of capturing the enemy in order to get ahead of him and carry out a countermeasure. Techniques from the “Breaking” section To break means to affect the joints the opponent's limbs in the direction opposite to their natural bend. Ples presents to your attention counter-grip techniques versus breaking techniques. Technique 4 “A” grabs “B” by the clothes with his right hand (Fig. 30). “B” grabs yA's" hand by the fingers and performs a painful hold (Fig. 31). In order to move on to counteractions, “A” is still at the very beginning Leaving the movement, he sharply goes down, with his left hand he knocks down the grip of the pro- sé56 Liu Guoshen BO ee opponent, and with the fist of his right hand strikes the solar plexus “B" (Fig. 32). Important points - | repeat once again that in a real situation, most fanging techniques are performed proactively, representing such a quick and coordinated reaction that it seems like one movement. « During training, techniques should be practiced in parts. So, for example, the one performing a painful hold does not complete it, but stops as soon as the painful effect has become apparent. After this, the second partner begins to carry out the counter-grip technique. At a higher level, these techniques are performed quickly and in one movement Fig.30 Fig.31 Fig.32 Technique 2 “A" grabs “B” by his left hand with his right hand (Fig. 33). “B” places the palm of his right hand on his right hand hand "A", presses it to his left hand, after which, making Fangqinna art of counter-grabs 57 —— a small circle clockwise, raises the hand up (Fig. 34). You can free yourself by knocking down grip “B” with your left hand (Fig. 35). Fig.33 Fig.35 Technique 3 “A” grabs “B” by the left shoulder with his right hand (Fig. 36). with his right palm he presses hand “A” to his shoulder and tries to perform a painful hold, influencing hand “A” with his right ‘hand and shoulder (Fig. 37). “A” quickly goes down, grabs ‘Bis” right hand with his left hand and frees himself from the painful Wakwat, “tearing” “B”’s right hand away from his right hand (Fig. 38). * bYpu Geena »_ Fanginna art of counter-grabs 59 Important points - This technique is also performed proactively. "A" should go down before "B" begins to apply force to his wrist Rice. 40 Fig.39 Fig.36 Fig.37, Fig.41 Technique 5 “A’ grabs “B" by the hair with his right hand (Fig. 42). "B" hand- mi presses "A's" right hand to his head, then sharply leans forward, thus influencing the right wrist howl of hand “A” (Fig. 43). Avoidance of this technique must be done in the initial phase of its implementation. "A" quickly squats down on right knee and, working. with your left hand on your arms and head “B” pulls his right hand out of the grip (Fig. 44). Fig.38 Technique 4 “A” grabs “B” by the clothes with his right hand (Fig. 39). “B” with his right hand presses “A's” right hand to his body, after which he sharply bends forward, thus influencing “A’s” wrist (Fig. 40). Avoidance of this technique must be done in the initial phase of its implementation. “A” quickly squats down on his right knee, breaks the grip | with his left hand, and with the palm of his right hand counterattacks “B” in the groin area (Fig. 41). Rice. 43 Rice. 4260 Liu Guoshen Rice. 44 Technique 6 “A” goes behind “B” and grabs him by the back of his hair with his right hand (Fig. 45). “B” grabs the attacking hand of “A” with both hands and presses it to his head (Fig. 46). Next, “B” turns 180 degrees counterclockwise and applies a painful hold to “A”’s right hand. The painful effect occurs due to twisting of the right hand “A” when turning “B” 180 degrees counterclockwise, as well as due to the application of a linear force to the hand “A” in the direction of the forearm of the right hand “A” (Fig. .47). Avoiding this technique is done by knocking down the grip with the left hand “A” (Fig. 48). Fig.45 Fig.46 4 Fig.47 Fig.48 Technique 7 “A” grabs “B's” clothes in the chest area with his right hand (Fig. 49). “B" grabs the right hand of “A” with his own hands and presses it to his body. After this, “B” sharply bends forward and thus affects the wrist of “A” (Fig. 50). Avoidance of this technique must be done proactively in the initial phase of its implementation. “A” quickly crouches down on his right knee, clenches Fig.49 his right hand into a fist, brings the fist towards himself and at the same time attacks “B” with his elbow. with your right hand to the solar plexus area (Fig. 51). Fig.60 Fig.5162 tv user h Fanqinna art of counter-grabs 63 Technique 8 “A’ with his left hand grabs “B's” right hand at the elbow with a reverse grip (Fig. 52). “B” clenches his right hand into a fist and brings his forearm to a vertical position, while simultaneously grabbing the left hand of “A” and pressing it to his right hand (Fig. 53). After this, “B” performs a painful hold, using the forearm of his right hand on the hand of “A” (Fig. 54A, 54B). The countermeasure is performed proactively. “A” with his right hand grabs the forearm of “B”’s right hand (Fig. 55) and twists it outward (Fig. 56). Technique 9 “A” punches “B’ in the head with his left fist. “B” blocks the blow with his left hand and grabs the attacking hand. “A” takes a step forward with his right foot and performs a painful hold on the elbow of “A”’s left hand (Fig. 58). Care is performed proactively, at the initial phase of the technique. “A” approaches “B”, taking a step forward with his left foot and stepping forward with his right. Using the elbow of the left hand as an axis of rotation, “A” turns the forearm clockwise down and strikes with the forearm and hand of the left hand in the lower part of the body and the groin area of “B” (Fig. 59) Fig.63 * k GP a = Fig.55 Rice. 5664 Liu Guoshen . Fanginna art of counter-grabs 65 Technique 10 “A” delivers a direct blow to “B’’s head with his right fist. “B” blocks the attack with his left forearm and grabs the opponent's striking hand (Fig. 60). With his right hand, “B” grabs the elbow of “A"'s right ; Techniques from the “Push” section hand and makes a painful lever (Fig. 61). “A” steps behind “B” with To “press” means to direct all the force of the body downward, his left foot, grabs “B” by the chin with his left hand and rotates his causing sprains, such as sprains in the wrist, legs, and other parts head to the left and up (Fig. 62). of the body. $ Technique 4 “A” grabs the right shoulder of “B” with his left hand (Fig. 63). “B” with his left hand presses “A's” arm to his shoulder, and with his right * hand, bent at the elbow, he moves it to the right and up (Fig. 64). Then, with the elbow of his right hand, “B” presses on the wrist of his left hand, “A,” causing a strong painful sensation (Fig. 65). Until “B” has completed his technique to the last phase, “A” steps his right foot back and to the left and thus leaves the danger zone (Fig. 66). Turning to the right, “A” strikes with his elbow in the back of “B” (Fig. 67-A, 67-B). Fig.60 Fig.81 at i963 Fig.64 Fig.62 — Fig.65 Fig.66Fanginna art of counter-grabs 67 66 Liu Guoshen ~w Rice. 72 Fig.73 Technique 3 Fig 87-8 aaa “A” with his right fist delivers a direct blow to the face of “B”, who Technique 2 . blocks the attack with his right hand (Fig. 74). “B” grabs the striking “A’ with his right hand grabs the left hand of “B” (Fig. 68). “B” with hand of “A’, pulls it over himself and presses it to his body. At the his right hand presses the right hand of “A” to his left hand (Fig. 69). same time, “B” steps forward with his left leg and with the forearm of Then, rotating the elbow of the left hand to the left, up, down and to his left hand presses on the elbow of the opponent's striking hand (Fig. the right, “B” applies painful pressure to the wrist of “A” (Fig. 70). 75). “A” takes a step with his left foot to the right and turns to the Ahead of the enemy, “A” steps back and to the right with his left foot right, thus leaving the zone of painful influence created by “B’ (Fig. (Fig. 71), then turns to the lett (Fig. 72) and strikes “B” with the elbow 76). Next, “A’ continues to turn to the right, after which he attacks the of his left hand (Fig. 73). enemy in the eyes with the fingers of his left hand (Fig. 77). — Fig.74 Fig.75 Fig.68 Fig 69 Fig.76 Fig.77 Rice. 70 Fig.7168 Liu Guoshen Technique 4 “A” strikes with his right fist in the chest of “B” (Fig. 78). “B” blocks the blow with his right hand, grabs the attacking hand of “A” and twists it, rotating it clockwise (Fig. 79). Then “B” takes a step forward with his left foot and presses with his left palm on “A's” right elbow (Fig. 80). While “B” has not completed his technique to the last phase, “A” turns to the left (Fig. 81) and strikes “B” in the groin with his left hand (Fig. 82) Fig.78 Rice. 79 Fig.80 Fig.81 Fig.82 >. Fanginna - the art of counter-grabs 69 Technique 5 “A” grabs “B” by the clothes with his left hand (Fig. 83). “B” with his left hand presses the left hand of “A” to himself, and brings the forearm of his right hand to the elbow of “A”’s left hand (Fig. 84). “B” _ performs a painful hold, applying pressure with the forearm of his right hand to the elbow of “A’’s left hand (Fig. 85). To get away from this technique, “A” gets closer to “B” (Fig. 86), then with his right hand he grabs the right hand of “B”, pulls it towards himself, with the _ forearm of his left hand presses on the elbow of the opponent's right hand, causing severe pain (Fig. 87). E Fig.83 Fig.84 Fig.85 eae PR Fig.87